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One of my favorite forms of “antiquarian” photographic printmaking, the bromoil process, is also one of the scarcest. That may be because of the difficulty in getting it right. Bromoil seems simple and direct—no need to make enlarged internegatives, for one thing—and that was partly why I was inspired to try it myself some years ago. I struggled with it, made a small group of pictures, then gave it up.

Robert Vizzini is a New York-based graphic designer whom I’ve known for more than a decade. He’s also a very talented photographer who has just launched a website (see it here). Bob is one of those inspiring stories in photography—he has worked and worked at it, taking classes, attending workshops, stretching himself technically and artistically. In the late 1990s he figured out a way to make beautiful black-and-white images in very low-light settings. His latest work, which is color, is also often made at night. This image is from a series he did at Coney Island.

In Los Angeles, The J. Paul Getty Museum's dual exhibit of photographs by John Humble and P.H. Emerson also deals in juxtaposition. Humble's work is contemporary, Emerson's from the last century; Humble captures Los Angeles, Emerson the marshes of England's East Anglia. But both examine the constantly evolving relationship between man and his natural/urban landscapes. During Emerson's documentation, East Anglia was undergoing what he saw as a culture-damaging change from traditional agriculture to industrialization and tourism. Humble likewise documents the city of Los Angeles as well as the Los Angeles river, often focusing on the polar experiences visible in both.